Tag Archives: Claudia Myers

The London Screenwriters’ Festival: 10 amazing seminars in one handy guide

10 Dec
London Screenwriters' Festival founder and director, the inspirational Chris Jones, takes to the stage

London Screenwriters’ Festival founder and director, the inspirational Chris Jones, takes to the stage

The London Screenwriters’ Festival is the largest of its kind in the world. That’s right, the biggest and best event for screenwriters happens not in LA, not in New York, but right here. London, Hollywood indeed. I’ve written up all the best talks, screenings and seminars I attended at this year’s: that’s ten blog posts. Read ’em, one by one. You’ll laugh! You’ll learn!

Behind The Scenes

The Silence of the Lambs, with screenwriter Ted Tally. Discover the secrets of the famous jail scene between Clarice and Hannibal, how Jodie Foster got the part, and whose head is really in the jar. Part one, click here; part two, click here.

Finding Nemo, with co-writer David Reynolds. Find out: Why is the vegetarian shark called “Bruce”? How did Sean Penn narrowly miss being in the film? And why did Pixar have to make their animation, in parts, deliberately bad?

The Lost Boys, with director Joel Schumacher. Find out: How was Rambo an influence on the movie? How you do you get maggots to act? Why must Surf Nazis die? Where did Kiefer Sutherland go in full vampire make-up?

Great talkers

Joel Schumacher. The veteran director explains how Woody Allen changed his life, how the studio took fright at Falling Down with Michael Douglas, and how “if I can do this, you can do this too”.

Lynda La Plante. The writer of Prime Suspect, who is currently working on the prequel, tells how she made it as a screenwriter. Find out why her key tip is to “write like a transvestite trucker”.

Tony Jordan. The creator of Life on Mars and the forthcoming Dickensian talks about his long, illustrious and surprisingly accidental career. He explains how he nearly gave up after just a few episodes of EastEnders (he went on to write 250), and how Life on Mars came about.

Charlie Brooker. The sweet, avuncular, cuddly uncle of screenwriting – just kidding! – trains his bile on blockbusters (“like staring into a washing machine full of cars and robots and things all smashing together”) and writing itself (“I love having written, but I hate the process of writing”), and talks about the Black Mirror Christmas special.

Writers’ guides

Beyond The Chick Flick: Writing The Female-Driven Screenplay, with Pilar Alessandra. Sigourney Weaver’s part in Alien was originally written for a man. But though it can be useful to ask yourself “what would a man typically do?” when writing for women, you’re missing out on a whole lot of depth if that’s all you do…

The Art & Craft of Dialogue, with Claudia Myers. She outlines the five pillars of what makes a good scene, and the four pillars of what makes good dialogue within that scene. Learn how even the way you address someone can matter: “In The Graduate, Dustin Hoffman and Anne Bancroft are sleeping together, but he’s still calling her ‘Mrs.Robinson’.”

Bonus section: last year’s highlights

A whole lotta Joe Eszterhas: The straight-talking author of The Devil’s Guide to Hollywood, who used to be paid $4 million for a script, was so entertaining and larger-than-life he could not possibly fit into one blog. So I posted several, including a, ahem, blow-by-blow account of Basic Instinct, his troubles with Mel Gibson, and his tips on writing.

Creating Character, with Pilar Alessandra. How to brainstorm a film structure from scratch, based solely on character (fascinating!); plus the three dimensions to character, and how to introduce a character in a script.

The Epic Spec: How To Explode Onto The Hollywood Scene, with Stuart Hazeldine. “Sometimes, to get noticed, you have to take your clothes off and run in the traffic.”

Steve Pemberton. One of the League Of Gentlemen team gives a local talk for local people. Discover, too, how a director he didn’t previously know persuaded him to act, for free, in his short film, as a cannibalistic serial killer with agoraphobia.

Graham Linehan. Absolutely one of the top TV comedy writers working today: the man behind Father Ted, Black Books and The IT Crowd reveals how Robert McKee screwed him up, and what the Three Moments rule is for TV comedy.

The London Screenwriters’ Festival 2015 is pre-registering now, and already 37% sold out. Find out more here.

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LSF report #5: The Art and Craft of Dialogue

4 Nov
Claudia Myers, Professor of Film and Media Studies at the American University's School of Communication

Claudia Myers, Professor of Film and Media Studies at the American University’s School of Communication

One for the writers among my readers. At the London Screenwriters’ Festival, I attended a seminar on The Art and Craft of Dialogue, given by Claudia Myers, professor of Film and Media Arts and writer of three produced feature films. She started off with what makes a good scene:

1. Each scene (unless it’s just crossing the road to the grocery store!) should have a beginning, middle and end, mirroring the structure of a play.

2. It should centre on conflict. And the essence of that is competing agendas – eg two dogs, one bone.

3. Start in one place and end somewhere else. If you take the scene out and the story if unchanged, you don’t need it.

4. There should be a polarity shift – like the “plus” poles and the “minus” poles. So if it starts off with things looking bad for your character, maybe it finishes by looking good. Or vice versa: you go expecting a romantic dinner, but in fact it’s been arranged to break up with you.

5. Build towards a climax, which should lead to a resolution.

Okay, now – on to what makes good dialogue within that scene:

1. It can advance the plot. If the scene is a break-up, that will be likely verbalised in some way.

2. It can reveal character. The way people say things tells a lot about who they are: their level of education, where they’re from. Maybe they’re pedantic, or use big words, or reveal someone who’s always looking on the bright side – like in Happy Go Lucky, where what she says after her bike is stolen is “Aww, I didn’t have a chance to say goodbye!” Sometimes not speaking, not answering a question, can be revealing. You can express the way characters feel about each other, whether it’s contempt or admiration. In The Graduate, Dustin Hoffman and Anne Bancroft are sleeping together, but he’s still calling her “Mrs. Robinson”.

3. It can give exposition. There’s really only so many newspaper articles you can have conveniently lying around, or diplomas and picture of their past on the wall. Ideally a scene should give exposition and reveal character. Here’s a bad way to give exposition: “I’m so glad you’re my brother and it’s your birthday.” Better is “Happy birthday, sis”, or if they both talk about “Mom” it’s pretty obvious they’re siblings.

4. It can set the tone. It you’re writing a comedy and the dialogue is not making me laugh, that’s a problem.

So, those are the pillars of good dialogue. Now, always remember that good dialogue works subtextually. Subtext is when people don’t say exactly what they mean. We do it every day. “I’ll think about it” usually means “no”, politely. Actors love playing subtext, too. And good dialogue revolves around conflict.

So let’s say a girl wants to break up with her boyfriend. Bad dialogue is: “Tom, I want to break up.” “Okay.” A better start would be: “Tom, before you say anything, I just want to say that these have been the best six months of my life.” At the climax of a scene, usually, a character can’t hold back and is forced to say bluntly what they were trying to say politely, as a result of the pressure the scene puts them under.

We closed with an examination of some terrific scenes from Erin Brokovich and Fargo. None of the above is rocket science, but it’s a very useful check-list to have to hand, if you are writing a script. Go over every scene you’ve written, and the dialogue within that scene, and ask yourself: could it be working harder, and doing more of the things on that check-list?